Augusto de Campos - Unoriginal Sins

SIX CONCRETE POEMS. 1967.

paul robertson — Fri, 16 Jun 1967 08:53:57 +0000

Brighton: Brighton Festival, 1967

13 x 19cm, printed manilla envelope content of six artist designed cards. Finlay has Star Steer and there are other works by Augusto de Campos, Eugene Gomringer, Jose Lino Gruynewald, Dom Sylvester Housedard, Gerhard Ruehm. There is also an English translation of "From Line to Constellation" by Eugen Gomringer - a manifesto of sorts from 1954.

It is worth noting that Finlay is here amongst those regarded as the giants of the visual poetry movement - a movement that became most prominent in South America but by 1963 Finlay was also producing such works and here is recognised his prominence in the British scene.

All VG in envelope that has a few marks on the back and is stamped "School of graphics Chelsea School of Art".

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THE BELOIT POETRY JOURNAL. CONCRETE POETRY. 1966

paul robertson — Fri, 21 Oct 1966 21:36:27 +0000

Wisconsin: The Beloit Poetry Journal, 1966

21 x 14cm, 40pp plus pictorial wrappers. Single number of this long running Chapbook which here dedicates itself to the concrete poets. Works by all the leading figures including Gomringer, de Campos, dsh, Gerhard Ruhm, Pierre Garnier, Edwin Morgan and Robert Lax amongst others are joined by Finlay - who has three page works including a schematic redrawing of his 4 Sails standing poems which as far as we know is not reproduced elsewhere. The cover is also a glass work by Finlay - Rock Wave. VG+.

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POTH (POOR OLD TIRED HORSE) NR 21. 1966. EDGARD BRAGA AND AUGUSTO DE CAMPOS.

paul robertson — Thu, 01 Sep 1966 15:19:30 +0000

Stoneypath; Wild Hawthorne Press, 1966

26 x 21cm, 12pp. The twenty-first number of Finlay’s poetry publication - wholly consisting of concrete poems by Edgard Braga and Augusto de Campos; and designed by Nigel Sutton (typography and layout). Unusually printed red on white. VG+ condition. Scarce.

INSERTED:

21 x 10cm, 4pp. Subscription form for the MIGRANT PRESS with bibliographical history.

This was the first number of POTH published at Stonypath (Later Little Sparta) as Finlay moved there with his partner Sue during 1966. After earlier locations in Edinburgh and Fife this was Finlay's final home for the next 50 years until his death in 2006.

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CIDADE. CITY. CITY. 1964.

paul robertson — Mon, 18 May 1964 15:04:36 +0000

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POTH (POOR OLD TIRED HORSE) NR 9. 1963.

paul robertson — Sun, 15 Sep 1963 10:31:39 +0000

Edinburgh; Wild Hawthorne Press, 1963
30 x 21cm, 4pp. The ninth number of Finlay’s poetry publication with contributions by Paul Fort (translated by Nicole Rabetaud), Lorine Niedecker, Ronald Johnson, Rocco Scotellaro (translated by Cid Corman), Libby Houston; John Gray, and Paulo Marcos de Andrade (translated by Augusto de Campos). The inner double spread is based on Ronal Johnson’s Sports and Divertissments – which Finlay later published as a stand alone book. The “decorations” herein (reproduced woodcuts) were by Peter Stitt. None of the poems in this issue might be clearly regarded as “concrete”.

INSERTED
The “spring list” of books and other items available from the Wild Hawthorn Press. 19 x 29cm, 1pp. Folded.

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POTH (POOR OLD TIRED HORSE) NR 6. 1963. THE FIRST NUMBER OF POTH WITH A CONCRETE/VISUAL POEM.

paul robertson — Tue, 15 May 1962 09:49:02 +0000

Edinburgh; Wild Hawthorne Press, 1963
30 x 21cm, 4pp. The sixth number of Finlay’s monthly poetry publication with contributions by Bernard Kops, Larry Eigner, J.F. Hendry, Attila Jozsef (translated by J.F. Hendry and Edwin Morgan), Louis Zukofsky, Mary Ellen Solt, Günter Grass (translated by Jerome Rothenberg), Michael Shayer, Spike Hawkins, Marcelo Moura, Pedro Xista, and Augusto de Campos. This example is overall VG if slightly browned. Copies were sold for 9d each and were sometimes taken around Universities or sold at poetry / literature evenings as well as by subscription.

Importantly this was the first number of POTH that contains a work that is clearly identifiable as a concrete or visual poem – the back cover has three works by Marcelo Moura, Pedro Xista, Augusto de Campos which Finlay notes are “Concrete Poems from Brazil”. It appears it was the South American poets who first gained Finlay’s attention and led him to primarily work in the milieu.

Some copies of POTH Nr 6 have a printed slip inserted announcing that “From now on, P.O.T.H. will contain graphic art as well as poetry” – although this copy does not have that slip – but that is a further indication that this was a pivotal number of the journal.

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